Cat Hope

Hiding gender: How female composers manage gender identity

Publisher: Elsevier BV

Date: 08-2019

DOI: 10.1016/J.JVB.2018.07.003

Working Towards Gender Equality and Empowerment in Australian Music Culture

Publisher: Springer International Publishing

Date: 2022

DOI: 10.1007/978-3-030-95557-1_17

Revealing Sonic Wisdom in the Works of Cat Hope

Publisher: Cambridge University Press (CUP)

Date: 30-11-2020

DOI: 10.1017/S135577182000028X

Abstract: There are many ways in which wisdom pervades artistic discourse. It is only recently, however, that a concerted effort has been made to understand the wisdom embodied in music. Drawing from the literal translation of phonosophy, this article attempts to unveil what might be described as sonic wisdom from a composer’s perspective, derived from an interview between Australian philosopher Samuel McAuliffe and composer Cat Hope. Hope’s notational practice challenges the hierarchies established by common practice notation, resulting in her contemporary art music being accessible to a wider range of performers, including those that do not read any music notations. Engagement with Hope’s notation leads to a revealing and transfer of a different kind of sonic wisdom than found in more traditionally notated works, in a process facilitated by technologies and articulated through musicianship.

What is New, Here? Locating an Art Form Within the Western Australian New Music Archive

Publisher: Informa UK Limited

Date: 09-2017

DOI: 10.1080/24750158.2017.1355422

From Xenakis's UPIC to Graphic Notation Today, ed. Peter Weibel, Ludger Brümmer and Sharon Kanach. Hatje Cantz. Free download, or £41 hardback.

Publisher: Cambridge University Press (CUP)

Date: 09-2020

DOI: 10.1017/S0040298220000558

The Future is Graphic: Animated notation for contemporary practice

Publisher: Cambridge University Press (CUP)

Date: 08-2020

DOI: 10.1017/S1355771820000096

Abstract: A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the sub ision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.

TEACHING TERTIARY MUSIC IN THE #METOO ERA

Publisher: Cambridge University Press (CUP)

Date: 06-03-2020

DOI: 10.1017/S0040298219001153

Abstract: Over the past two decades significant changes in approaches to gender equity have taken place in the fields of contemporary music and music research. However, women in music are still disadvantaged in terms of income, inclusion and professional opportunities. In Australia a national approach to improving gender equity in music has begun to emerge as once-controversial strategies trialled by four tertiary institutions have become established practices. This article discusses successful inclusion strategies for women in music, including the commitment to gender-balanced programming across all concerts at Queensland Conservatorium of Music by 2025, the introduction of mandatory quotas in recital programmes at Monash University, mentoring programmes for women composers at Sydney Conservatorium of Music, and the development of coursework devoted to women in music at The University of Western Australia, as well as other initiatives that have emerged from them, both within and beyond the institution. Each approach is examined in the context of broader global discussions around gender and feminism. The public willingness to engage in discussions over sexual harassment, sexual assault and gender discrimination in the workplace that has resulted from the #MeToo movement is cited as key in influencing the engagement of students and professionals with these strategies and subsequent influence on performance practices, project development and presentational formats in new music.

Women composers’ use of online communities of practice to build and support their careers

Publisher: Emerald

Date: 23-09-2019

DOI: 10.1108/PR-02-2018-0059

Abstract: The purpose of this paper is to examine women composers’ use of online communities of practice (CoP) to negotiate the traditionally masculine space of music composition while operating outside its hierarchical structures. The authors employed a mixed methods approach consisting of an online survey ( n =225) followed by 27 semi-structured in-depth interviews with female composers to explore the concept and use of CoP. Content analysis was used to analyze the survey responses and interpretative phenomenological analysis was used to interpret respondents’ lived experiences as relayed in the interviews. The findings reveal that the online environment can be a supportive and safe space for female composers to connect with others and find support, feedback and mentorship, increase their visibility and develop career agency through learning and knowledge acquisition. CoP emerged as an alternative approach to career development for practicing female music workers and as a tool which could circumvent some of the enduring gendered challenges. The findings suggest that online CoP can have a positive impact on the career development and sustainability of women in male-dominated sectors such as composition.

The Rise and Fall, and the Rise (Again) of Feminist Research in Music: ‘What Goes Around Comes Around’

Publisher: Informa UK Limited

Date: 03-07-2017

DOI: 10.1080/08145857.2017.1392740

TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN

Publisher: Cambridge University Press (CUP)

Date: 06-03-2020

DOI: 10.1017/S0040298219001177

Abstract: The Summers Night Project is an ongoing composer-mentoring programme established in 2018 by musicians Cat Hope and Gabriella Smart, with the support of the Perth-based new music organisation Tura New Music. The project aims to support and mentor emerging Australian female and gender minority composers to create new compositions for performance, with the aim of growing the gender ersity of composers in music programmes across Australia. Three composers were chosen from a national call for submissions, and works were performed by an ensemble consisting of members from the Decibel and Soundstream new music ensembles. Three new works were workshopped, recorded then performed on a short tour of Perth, Adelaide and Melbourne, Australia in July 2018. The project takes its name and inspiration from Australian feminist Anne Summers, author of the ground-breaking examination of women in Australia's history Damned Whores and God's Police (1975) and was inspired by her 2017 Women's Manifesto . This article examines the rationale for such a project, the processes and results of the project itself, and plans for its future.

Monash University

Location: Australia

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Kings London

Location: United Kingdom of Great Britain and Northern Ireland

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Hamburg Institute Of Advanced Study

Location: Germany

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Edith Cowan University

Location: Australia

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Decibel New Music 2019 10th Anniversary Program

Start Date: 2019

End Date: 2019

Funder: Department of Local Government, Sport and cultural industries

Decibel Tour To Japan

Start Date: 2016

End Date: 2016

Funder: Department of Culture and the Arts, Government of Western Australia

'After Julia' 2017 Tour

Start Date: 2017

End Date: 2017

Funder: Department of Culture and the Arts, Government of Western Australia

Speechless

Start Date: 2018

End Date: 2018

Funder: Australia Council for the Arts, Australian Government

A Tour Of Europe By The Ensemble Decibel

Start Date: 2013

End Date: 2013

Funder: Australia Council for the Arts, Australian Government

New Music On Ipads

Start Date: 2011

End Date: 2012

Funder: Edith Cowan University

To Create New Works For Decibel's AFTER JULIA Concert Program

Start Date: 2014

End Date: 2014

Funder: Australia Council for the Arts, Australian Government

HCI In Architecture And Music

Start Date: 2019

End Date: 2019

Funder: University of California, San Diego

New Music On IPads

Start Date: 2011

End Date: 2016

Funder: Nortel Networks Inc

For A New Opera By Cat Hope

Start Date: 2016

End Date: 2017

Funder: Department of Culture and the Arts, Government of Western Australia

To Develop A New Opera By Cat Hope

Start Date: 2016

End Date: 2017

Funder: Australia Council for the Arts, Australian Government

Partnership Development Grant For The Technologies Of Notation And Representation

Start Date: 2018

End Date: 2018

Funder: Social Sciences and Humanities Research Council of Canada

New Work For Bienalle Of Electroni Arts, Perth

Start Date: 2004

End Date: 2004

Funder: Department of Culture and the Arts, Government of Western Australia

One Year Of Creative Development Activity

Start Date: 2014

End Date: 2014

Funder: Department of Culture and the Arts, Government of Western Australia

The Western Australia New Music Archive: 1970 - Today: Finding, Accessing, Remembering, Performing

Start Date: 2012

End Date: 2016

Funder: Australian Research Council

Technologies Of Notation And Representation Tenor Network

Start Date: 2017

End Date: 2020

Funder: Social Sciences and Humanities Research Council

Sonifying Climate Change

Start Date: 2018

End Date: 2018

Funder: Penn State Harrisburg, Pennsylvania State University

Decibel Commissions 7 New Music Compositions From Visual And Experimental Artists

Start Date: 2016

End Date: 2017

Funder: Australia Council for the Arts, Australian Government

To Commission Six New Works By Australian Composers For Performance By Decibel In 2012.

Start Date: 2012

End Date: 2012

Funder: Australia Council for the Arts, Australian Government

“The Australian Music Navigator: Research Infrastructure For Discovering, Accessing And Analysing Australia’s Musical Landscape”

Start Date: 2009

End Date: 2011

Funder: Australian Research Council

ECU Capability Enhancement Scheme: The Economic And Social Impacts Of Contemporary Music In Western Australia

Start Date: 2015

End Date: 2015

Funder: Edith Cowan University

Diversifying Music In Australia: Gender Equity In Jazz And Improvisation

Start Date: 2021

End Date: 2024

Funder: Australian Research Council

Linkage Projects - Grant ID: LP120100685

Start Date: 11-2012

End Date: 12-2016

Amount: $220,000.00

Funder: Australian Research Council

Linkage Infrastructure, Equipment And Facilities - Grant ID: LE0989831

Start Date: 01-2009

End Date: 01-2010

Amount: $205,000.00

Funder: Australian Research Council

Special Research Initiatives - Grant ID: SR200200311

Start Date: 05-2021

End Date: 12-2024

Amount: $271,936.00

Funder: Australian Research Council